NovPoWriMo 2025: Day 2 — “Errata Sonnet”

DAY 2. Errata Sonnet

What are errata? In publishing, an erratum (singular) or errata (list) is a set of post-print corrections bound in or issued separately. We start by mimicking the dry book-history texture. And, what is volta? The volta is the "turn" in a sonnet, marking a shift in thought, emotion, or argument, often signaled by words like "but" or "yet". In a Petrarchan sonnet, the volta occurs between the octave (first eight lines) and the sestet (last six lines). In a Shakespearean sonnet, it typically happens between the 12th and 13th lines, or just before the final couplet.

Kevin Young, “Errata” is a tour-de-force of misprints/malaprops as music which shows how error can be the engine. Michael Donaghy, “Erratum”, though not a single “errata poem,” but the title points to craft that’s precise, revision-aware, and bookish with can be a very useful tonal compass for us.

So, why are we doing this? A sonnet compiled from errata, the little correction notes printed after books go to press. Fourteen lines of corrections to a life/text. The turn (volta) arrives when a “correction” can’t be corrected. Errata are tiny apologies to the reader; they acknowledge the layered self you opened in Day 1. We correct spellings, dates, names until we hit a thing that won’t yield to ink. 

How can we do this? Write 14 lines that look like errata from the back of a book. Each line should include a brief citation and a correction. Examples:

• p. 7, l. 3 — for “winter” read “late rain.”
• p. 12 — “you left” should read “you were already gone.”

Use a volta at or around line 9: a correction that can’t be corrected (logic collapses, memory resists). Keep the voice dry, precise, bookish: no explanation, just adjustments. 

Optional meter: keep a light iambic pressure if you enjoy it, but music is secondary to form. But, there are some required elements (bake these in):

• Include one [sic].
• Include one strikethrough (a word visibly “withdrawn”).
• Include one italicized aside (set like this)—a typesetter’s whisper.
• End with a final line that corrects the title or date of the poem itself.

How to actually do it? Let's uncomplicate [before we lose interest...] Make a tiny inventory of factuals you’d be tempted to fix: a date, a place, a word someone used for you. Draft 6–8 straightforward corrections first (lines 1–8). Draft 4–5 lines where grammar can’t fix what’s wrong (lines 9–13). Land on a last line that edits the poem’s own metadata like title, author, or year.

Micro-samples [Use as a feel-check or a template!]

p. 3, l. 1 — for “dawn” read “streetlight still on.”

p. 5, l. 9 — delete “forever”; insert “for a season.”

p. 7 — name “M.” should read “M——.”

p. 12, l. 4 — “threshold” to read “turnstile.”

p. 14 — replace “promise” with “receipt.”

p. 18, l. 2 — “home” [sic].

p. 21 — “ocean” should read “reservoir.”

p. 26, l. 6 — strike “stillness”; set “pause.”

p. 30 — there is no way to change this.

p. 31, l. 5 — the line breaks itself (leave as is).

p. 33 — “we” to read “I,” then “I,” then “I.”

p. 34, l. 2 — punctuation fails; keep the breath.

p. 36 — the absence was typeset correctly.

Colophon — for “NovPoWriMo 2025” read “NovPoWriMo, undated.”

Optional intensifiers (choose one or more):

• Use Roman numerals for page numbers (I, V, XIV…).
• Introduce one nonexistent page reference (p. 0 or p. ∞).
• Let exactly one correction restore a true tenderness; everything else stays clinical.

Errata Sonnet

1. p. 3, l. 1 — for “November” read “late rain.”

2. p. 5, l. 9 — “origin” should read “ongoing.”

3. p. V — substitute “joy” with “quiet compliance.”

4. p. 7 — name “M.” to read “M——.”

5. p. 8, l. 4 — “home” [sic].

6. p. 9 — strike “always”; set “sometimes.”

7. p. 13, l. 2 — for “bruise” read “ink.”

8. p. ∞ — insert “the train never stopped.”

9. p. 21 — “you left” should read “you were already gone.”

10. p. 26, l. 6 — punctuation fails; keep the breath (just hold it).

11. p. 30 — restore “mercy” despite misprint (typesetter wept).

12. p. 31 — the line breaks itself; leave as is.

13. p. 33 — “we” to read “I,” then “I,” then “I.”

14. Colophon — for “Errata Sonnet (2025)” read “Uncorrectable.”

NovPoWriMo 2025: Day 1 — “Palimpsest of Self.”

DAY 1. Palimpsest of Self

"Palimpsest of Self" uses the concept of a palimpsest—a manuscript with original text partially erased and rewritten over, leaving faint traces of the old—to describe the self as a multifaceted and layered entity. It suggests that our experiences, memories, and identities are continuously written, erased, and rewritten, creating a complex, multi-layered "self" where earlier versions of who we are remain present as subtle or distorted imprints. This metaphor is applied in various contexts, including art, literature, and even discussions of identity and memory, to explore how past experiences shape our present understanding of ourselves. Just as a palimpsest has layers of text, a "palimpsest of self" implies that our identity is not static but a continuous accumulation of experiences, memories, and influences. New experiences can overlay and alter older ones, similar to how writing is erased from a palimpsest. This isn't a complete loss of the past but a transformation, where traces of what was written before remain, sometimes subtly, influencing the new text.

As a metaphor, “palimpsest” travels well across literature and memory studies. Scholars have used “palimpsest” to think about how texts and selves layer over time: Gérard Genette’s classic Palimpsests: Literature in the Second Degree frames later writing as rewriting that carries prior texts within it theorizing how any new text asks us to remember earlier ones: hypertext layered on hypotext. Sarah Dillon’s The Palimpsest: Literature, Criticism, Theory offers the first full genealogy of the metaphor and calls its structure “involuted,” illuminating how traces persist beneath overwriting. Andreas Huyssen’s Present Pasts describes cities themselves as “urban palimpsests,” where new surfaces never entirely erase prior histories. The figure also runs through older essays on mind and memory. Thomas De Quincey famously calls the brain a “natural and mighty palimpsest,” and Freud’s Mystic Writing-Pad analogy (picked up by Derrida) imagines perception as layered inscription. If you want literal parchment: see the Archimedes Palimpsest (a medieval prayerbook overwritten on treatises by Archimedes) and major biblical and Qur’anic palimpsests like Codex Ephraemi Rescriptus and the Sana’a palimpsest being visible proof that texts are scraped and written over, yet still legible underneath.

For a poetics edge, Poetry Foundation's blog uses “multi-layered record,” to define palimpsest in poetics [a definition that tracks cleanly with how we’re using it here], and there’s an archival “Palimpsest” poem by Roger Shattuck in Poetry magazine (September 1981) if you like seeing how the word lives on the page. 

So, why are we doing this? The constraint forces surprising re-seeing of your own poem (a literal palimpsest).

How can we do this? Pick an old poem of yours (ideally one with a pulse you still recognize). Keep the number of lines, the approximate line lengths, punctuation, line breaks, the title. Only replace the nouns: proper nouns, common nouns, collective nouns—whatever names a thing. Keep verbs, pronouns, and connective tissue intact. Title stays the same.

Optional intensifiers (choose one or more):

• keep the original first and last noun untouched (anchors)
• allow yourself exactly three new nouns that didn’t exist in your life when the original was written (pressure point)
• show two layers by striking through one noun per stanza (the ghost peeks through)

Even more optional craft tweaks (choose one or more):

• add one extremely short “gloss” after two or three lines set off by brackets or a superscript number like a scribe’s note, keep it under five words..
• pick one noun you refuse to replace and strike it once (the scraped word showing through).
• after the poem, add a single-line “hashiya” (comment) that contradicts or complicates the poem, in italics.

Post the new poem with the original title. If you want, put a one-line note at the end: “Palimpsest after [year]”.

Palimpsest of Self

I wake in the script archive of morning,
where names faces have been rubbed thin—
the sky air held open by a quiet threshold corridor
I once called something else.

A faint halo ember hides beneath the margin ledger—
tattooed over with fresh window panel,
still echoing the lost garden orchard
I once carried behind my teeth pulse.

I am stitched to the old harbor crossroads,
its syllables letters flaking like tired gold copper—
beneath it, the first mirror window 
shakes, blurred, still breathing.

Strike through the map compass I thought was mine—
the route path curls back, a coy revenant stranger;
in the dusted palaces chambers of season weather,
ghosts shadows gossip their new pronouns.

The parchment vellum remembers what I forget—
the scraped salt sugar,
the unwritten child echo,
the shadow wrist finger I tried to trade.

Even now, the oldest threshold corridor waits
half-buried in the warm wind current—
rewriting me, line by line,
quiet as a vow truce.

—I swear I’ve been here before, but under another ink breath.
Palimpsest after 2025

~ Oizys.